How to Write a Catchy Melody – Music Theory from Fuse ODG “Bra Fie” (feat. Damian Marley)

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If your melodies are not getting stuck in people’s heads, then use the hook hack in this video (as heard in “Bra Fie” ft. Damian Marley by Fuse ODG, from his “New Africa Nation” album).
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In his new single “Bra Fie” (ft. Damian Marley) that just dropped this weekend, Fuse ODG breaks up his verses with the funkiest horns! This brass melody is so catchy that it takes over from the vocals, and functions as a secondary hook. What makes it so catchy? Three things. First, it’s in the pentatonic minor scale, which only has five notes. This makes the melody simpler, and therefore easier to remember. Second, it uses a motif, which is a short musical idea. Repeating a motif creates a pattern in the melody, making it even more memorable. And third, it uses rests. Unlike our DAWs, brass players need to breathe, and these rests create phrases that divide the melody into easily digestible chunks.

Step 1 – Pentatonic
Set up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 99 BPM. “Bra Fie” is in the key of A minor, and the chord progression goes back and forth between Am and Dm, so we’ll do the same. And the dark notes at the bottom (below the melody) are the root notes of those chords, but they’re muted, they’re just there for reference. The pentatonic minor scale excludes the second and sixth notes of the natural minor scale, so in A minor, we omit the notes B and F. And it’s important to remember that we’re only using the pentatonic minor scale for our lead melody. Under our pentatonic lead melody, we’re still using the full seven-note natural minor scale for our chords, bass, and even our brass counterpoint harmony, which you’ll hear in the background.

Step 2 – Motif
Now, using mainly 1/16 notes, write a motif in your first bar. And the reason you wanna mainly use 1/16 notes, is that short notes inject energy into your motif, resulting in a vibrant melody. However, a motif with only 1/16 notes will get boring real quick, so be sure to use at least one longer note somewhere as well. Our motif consists of three 1/16 notes, followed by a dotted 1/8 note, and then finished off with four 1/16 notes. And regarding their pitches, we’re going 1 → ♭7 → 1 → ♭3 → 4 → ♭3 → 5 → 4.

Step 3 – Repeat & Rest
Next, copy and paste your motif into your second bar, then change the pitches of the second half of it, for variation. We kept the first three notes the same, but changed everything from our long note on. This creates the ultimate combination of familiarity and freshness, as the rhythm in your second bar will be familiar to your listeners, but the pitches will be fresh. And finally, throw in a few notes at the end of both bars to link everything up, but remember to leave some space for the melody to breathe.

ABOUT
Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series “Hack Music Theory”, and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who’s been trained by Ray to teach his method. On that note, the “Hack Music Theory” YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).

MUSIC
►https://RayHarmony.com
►https://KateHarmony.com

(c) 2018 Revolution Harmony
All music in video by Revolution Harmony
Revolution Harmony is Ray Harmony & Kate Harmony

Photo of Fuse ODG & Damian Marley courtesy of Off Da Ground Records

Comments

Aurelio ndilou says:

these short breakdown never fail to teach or inspire! Always something to take away.

nandakoryaaa says:

I got notification about this video but did not get it about the last video. So I just went to see if there's something new from you because I knew there should be!

SelectCircle says:

Interesting hack – all the more so because I didn't think there was one.
We used to think a computer would never beat a human champion at chess.
Now we gotta wonder when one will beat a talented melody-maker.

Justin Nogle says:

Great stuff again guys, thank you! Layering pentatonics over fully minor/major bases and layers seems obvious I suppose but I get stuck on an all or nothing mentality. Great reminder and tactic to keep it catchy!

Glow0110 says:

What did you use for the brass sounds?

A person says:

I just realised I haven't commented here for a while – your videos are still really helpful! Music class at school is all extremely basic theory and no composition tips at all so I have to rely on your videos instead!

Kento Nishi says:

Ahhhhhhhhhhhhhhhhhhhhhhhhhh

HAZARDOUS88 says:

Take two! Thanks, it was very helpful!

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